- Sound design Michael Dansicker and Bob Dylan - Orchestrations Henry Aronson - Music director Musical numbers The show was performed without an intermission "The Times They Are A-Changin'" "Highway 61 Revisited" "Don't Think Twice, It's All Right" "Just Like a Woman" "Like a Rolling Stone" "Everything is Broken" "Desolation Row" "Rainy Day Women #12 & 35" "Mr. Tambourine Man" "Man Gave Names to All the Animals" "Masters of War" "Blowin' in the Wind" "Please, Mrs. Henry" "On a Night Like This" "Lay, Lady, Lay" "I'll Be Your Baby Tonight" "Simple Twist of Fate" "Summer Days" "Gotta Serve Somebody" "Not Dark Yet" "Knockin' on Heaven's Door" "Maggie's Farm" "I Believe In You" "Dignity" "Forever Young" Reception The show received uniformly negative reviews on Broadway, criticizing it generally for its "addled," "inscrutable," yet also "wearyingly familiar" setting and plot; its circus-inspired staging; and its "prosaic," "literal-minded" staging of Dylan's songs. Ben Brantley of the New York Times called the show the worst thus far of the decade's spate of jukebox musicals, writing that it gave Dylan's work a "systematic steamrolling[.]" He criticized the show for taking the "metaphoric images" of Dylan's work, "which float miragelike when heard in song," and "[nailing them] down with literal visual equivalents" - and therefore, "even as the dancers seem to fly, Mr. Dylan's lyrics are hammered, one by one, into the ground." David Rooney of Variety wrote that "Tharp [...] has no idea how to make the songs dynamic, either planting the singers in declamatory deadlock or having them stride about aimlessly while assorted clowns skip, tumble, flip and bounce on the trampoline surfaces of Santo Loquasto's junkyard set," so that "even when the songs do summon some emotional intensity, all the awkward, hokey buffoonery going on in the background (in unfortunate Leigh Bowery-esque costumes and makeup) smothers it." He also criticized the show's "[h]o-hum," "generic father-son plot." Frank Scheck of the Hollywood Reporter wrote that the show "plays like an overconceived concert, with Tharp's choreography, as vibrant and physical as it is here, lacking the variety of her earlier work"; Scott Brown of Entertainment Weekly called the production "utterly wrongheaded," with Tharp demonstrating that "she clearly has no choreographic bond with [Dylan's] music"; Rob Sheffield of Rolling Stone wrote that "[i]t's hard to describe the show without making it sound like a stoned nightmare," and that "the Broadway belters have no feel for Dylan's